Buchloh, conceptual art.pdf - Course Materials Repository

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Conceptual Art 1962-1969 137 Haacke after 1966. In fact an institutional critique became the central focus of all three artists' assaults on the false neutrality of vision that provides the underlying rationale for those institutions. In 1965, Buren-like his American peers--took off from a critical investigation of Minimalism. His early understanding of the work of Flavin, Ryman, and Stella rapidly enabled him to develop positions from within a strictly painterly analysis that soon led to a reversal of painterly/sculptural concepts of visuality altogether. Buren was engaged on the one hand with a critical review of the legacy of advanced modernist (and postwar American) painting and on the other in an analysis of Duchamp's legacy, which he viewed critically as the utterly unacceptable negation of painting. This particular version of reading Duchamp and the readymade as acts of petit-bourgeois anarchist - radicality while not necessarily complete and accurate -allowed Buren to construct a successful critique of both: modernist painting and Duchamp's readymade as its radical historical Other. In his writings and his interventions from 1967 onwards, through his critique of the specular order of painting and of the institutional i-si-ii~i?::-i- iiiiliii~ ;:iEii$B i-ii-i-~ : ii~:ii:ii-iiii ili:iiii::?-i?- ji:iii-i:iiii :::::''' ;,i-i~:: :::-: ::::: I:: -::-:i:::::-- :9:i::-:i,-::' :%:-:::::: :i~.~k~$P:l:':~::i--~:i-jlB:, :: : ::::~-:: _-:::-:::::--- : i-:_-:?:_-:::::_ii::I-i:-:-_?:::~?9~s: :~-::::i-:i::-::l-:-i ::~--::~:'i:~ "?:::I:iZ- I::L: :'::": i.- ii:-ii::::i-:~- iii-- 't I- ig?a~ Daniel Buren. Installation at the Guggenheim International Exhibition. 1971.
ftkw-% l ft VW v , W ? fl" Is: 1% S; forf,_ wX, Buren, Mosset, Parmentier, Toroni. Manifestation Number Four, September 1967, Fifth Biennale de Paris, Musie d'art moderne de la Ville de Paris. framework determining it, Buren singularly succeeded in displacing both the paradigms of painting and that of the readymade (even twenty years later this critique makes the naive continuation of object production in the Duchampian vein of the readymade model appear utterly irrelevant). From the perspective of the present, it seems easier to see that Buren's assault on Duchamp, especially in his crucial 1969 essay Limites Critiques, was primarily directed at the conventions of Duchamp reception operative and predominant throughout the late 1950s and early '60s, rather than at the actual implications of Duchamp's model itself. Buren's central thesis was that the fallacy of Duchamp's readymade was to obscure the very institutional and discursive framing conditions that allowed the readymade to generate its shifts in the assignment of meaning and the experience of the object in the first place. Yet, one could just as well argue, as Marcel Broodthaers would in fact suggest in his catalogue of the exhibition The Eagle from the Oligocene to Today in Dfisseldorf in 1972, that the contextual definition and syntagmatic construction of the work of art had obviously been initiated by Duchamp's readymade model first of all. In his systematic analysis of the constituting elements of the discourse of painting, Buren came to investigate all the parameters of artistic production and reception (an analysis that, incidentally, was similar to the one performed by Lawrence Weiner in arriving at his own "matrix" formula). Departing from Minimalism's (especially Ryman's and Flavin's) literalist dismemberment of painting, Buren at first transformed the pictorial into yet another model of opacity and objecthood. (This was accomplished by physically weaving figure and
Page 1 and 2: Conceptual Art 1962-1969: From the
Page 3 and 4: 2 PIA No / AlleTro a .Juliete 3 MEF
Page 5 and 6: 108 OCTOBER movement's self-declare
Page 7 and 8: 110 OCTOBER later by Seth Siegelaub
Page 9 and 10: 112 OCTOBER not more so - in his co
Page 11 and 12: Sol LeWitt. Untitled (Red Square, W
Page 13 and 14: 116 OCTOBER made as the mere displa
Page 15 and 16: 118 OCTOBER to the manifest lack of
Page 17 and 18: VARIOUS Asommm s ift X, ........ iL
Page 19 and 20: 122 OCTOBER Years, or, most signifi
Page 21 and 22: 124 OCTOBER By contrast, Graham's w
Page 23 and 24: 126 OCTOBER reception - the underst
Page 25 and 26: 128 OCTOBER tion types shows art "w
Page 27 and 28: 130 OCTOBER which never sets over t
Page 29 and 30: Robert Morris. Four Mirrored Cubes.
Page 31 and 32: 134 OCTOBER The diversity of these
Page 33: 136 OCTOBER Transcending the litera
Page 37 and 38: 140 OCTOBER incidentally, which had
Page 39 and 40: 142 OCTOBER Buren, Mosset, Parmenti

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